By William Shakespeare, Liang Shiqiu
It's a Bilingual variation of chinese language and English.
Read or Download Anthony and Cleopatra (The Complete Shakespeare Translated by Liang Shiqiu, Book 35) (Bilingual Edition) PDF
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Extra resources for Anthony and Cleopatra (The Complete Shakespeare Translated by Liang Shiqiu, Book 35) (Bilingual Edition)
If transformation is something that is expected to happen within the limits and choices and traditions that deﬁne the particular world of a play, within the premisses that create and conﬁne our expectations, why not transformation of the premisses themselves? Bringing the rules into play, as in Translations, even in some instances challenging the very idea of such rules, can happen in endless ways. Let me note several. One is by a change in midcourse, or more likely towards the end of the play, through a sudden and unexpected shift in key; another is by purposeful mystiﬁcation, a deliberately ambiguous or even deceptive opening that defers a stable deﬁnition of the stage; a third is by breaking the rule about rules, a subversion of all expectation and dramatic logic except the expectation that anything goes.
Costume among the latter group is garishly stagy, and among the Court, superb. The signature of the opening is the incongruous note—the giveaway that says ‘theatre’—a shoeshine box beside the solemn catafalque, tan shoes with evening dress, skin showing around the Court’s masks, and disturbing orchestrated laughter from the supposed players, one of whom presents the others to the audience (the stage audience and the actual audience, indiscriminately). ’ The effect of this exchange, along with other hints, glimpses, innuendoes, is that something is happening or is intended to happen that is not a Theatre unveiled 29 performance; something real, or at least more real.
The creation of a stage world that allows such intercut presences means that the reader and viewer sees as reality what the inhabitants of the later period can only grasp, misconstrue, as history. But for the poignant last scene, in a bold stroke of theatre poetry that pays off beyond all reasonable expectation, couples from the two times, blind to each other, are on the stage simultaneously, in the same room, dancing to the same music. This radical break with the premisses that have so far governed the play, its rules of representation, comes off as the revelation of another logic, a higher logic perhaps, consonant with thematic concerns: about loss and recurrence in the pattern of things; about iterated algorithms in a ‘geometry of nature’; and how ‘the unpredictable and the predetermined unfold together to make everything the way it is’,⁷ which is not a bad description of the progressive form of a play.
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